black midi - "Schlagenheim" (2019)

I've been intending to talk about black midi's debut record, Schlagenheim, since last year. However, it's the kind of record that I have to be in a very specific mood for, as it is a very loud, erratic and abrasive album. When I am in the right mood for it, I have a really enjoyable time - but that isn't all that often. Schlagenheim mixes hypnotic math rock grooves with post-hardcore and noise rock instrumentation so loud and abrasive it feels like your ears are about explode; alongside experimental song structures with multiple passages and a positively deranged vocal delivery from frontman Geordie Greep.

The first thing which greets you in the opening track, 953, is a super noisy thrashing on all the instruments before the song settles into a very minimal and restrained section with the first bit of vocals on the album. Greep sounds like some sort of weird, twisted preacher talking about condemnation and sins. The loud thrashing then return momentarily before the second verse follows the first in a more restrained style. The track closes out with an even more manic instrumental section featuring erratic piano notes. The following track, Speedway, couldn't be more different. It features this really tight math rock groove that sounds really clean and hypnotic, with vocals from bassist Cameron Picton rambling about houses and building codes. It makes the track sound sort of Talking Heads-y to an extent.

This erratic nature is carried throughout the entire album, with the short, linear, pummelling nature of Reggae and Near DT, MI followed by the 8-minute multi-section Western. The gentle parts of this song are definitely the most serene the album gets, and the louder sections sound oddly triumphant. I think this is due to Greep's extremely eccentric delivery combined with the electronic swells in the background. The back half of the track gains some grit as the groove speeds up and up, before blindsiding you with a sudden switch back to the gentle first part of the song.

I do find that the album does get a bit much in the second half, with Greep's vocals becoming consistently more deranged and possessed, and the harsh, distorted loudness more persistent. The vocals on bmbmbm (yes that is the title of the track...) are something that has really stuck with me because of how insane (and frankly pretty offputting) they are. Greep repeats the line "she moves with a purpose" over and over like some sort of lunatic stalker over an incredibly tense and harsh repeated bassline. The screams and laughs at the back of the mix only add to the insanity of the track.

The closer, Ducter, is one of the most restrained and sane tracks on the album, and its one of my favourites. The track is built off this chiming, repeated guitar pattern and a rising and falling bass. Greep's vocals are a step down from the relentless insanity and are pretty intelligible. The track slowly builds up to its climax, with each element introduced one at a time; with the track never being overcome by the noise. Greep sing's "You will not break me" with the same sort of eccentric triumphance as he does on Western.

This album is certainly not for everyone, and I have to be in the right mood to enjoy it. But there is a sense of virtuosity and daringness to just how unique it is that I really respect. However I think it is just too standoff-ish and challenging for me to ever really love. To be honest, a lot of my appreciation for individual tracks on the record has been through them coming up on shuffle, where I can move onto something else afterwards so the relentless noise doesn't drain me.

Top Tracks: 953, Speedway, Reggae, Western, Ducter

7/10

Slowthai - "Nothing Great About Britain" (2019)

2019 was really Slowthai's year. He broke into the mainstream with his debut record, which was then nominated for the Mercury Prize; dropped co-labs all over the place and toured with the American super-group Brockhampton. And it's really not hard to see why he has made such a splash, as he is such an attention-grabbing character with an incredible presence on the stage and on these tracks.

Slowthai instantly grabs you with his very unique rapping style. It's not the most technical or flashy, but Tyron brings a punkish, DIY attitude to it which sets him apart from any other rapper I've heard. He has weird vocal inflections, and a rough aggressive tone throughout the majority of the record, although there are a few softer moments in the tracklist.

It's hard not to be sucked in by the lyrical content either. Slowthai raps about growing up in on council estate with his single mother, and some tragic childhood trauma, including the death of his younger brother and Tyrone's poor relationship with his step-father. The tracks are also stuffed full of commentary on class inequality and politics, as well as references to British pop-culture and stereotypes.

The opening track is the title track, which serves as a tone setter for the rest of the record. Slowthai lists off social injustices and ends with brash pot-shots at the Royal Family. Following this is the Mura Masa assisted Doorman, a manic, dance-able banger about going out and the related alcohol and drug abuse. It has a certain post-punk/dance punk quality to it, despite having electronic instrumentation. It is the cream of the crop of the album's tracks, I've been listening to it for months and it never gets old. Gorgeous is more organic, built around a loop of a little piano riff, with additional strings and manipulated vocals in the background. Tyrone raps more nostalgically about his youth here, despite the challenges he faced during it.

Some of the more grime-styled tracks in the middle of the record don't do much for me, I just struggle to connect of become invested in those types of instrumentals. Slowthai and his features (Jaykae and Skepta) still perform well on top. The record picks up again towards the end though, starting with Peace Of Mind. Slowthai is particularly driven and swaggering on this one, with the hook "I feel peace of mind when I'm dreaming of a life I ain't living". You really feel the anguish and anger in his voice here. Missing has a weird, creepy, warped synth-line. Similar effects smother Slowthai's voice, creating a dark, dangerous atmosphere to the track. Northampton's Child closes the record much as Nothing Great About Britain opens it, however with a more autobiographic slant about has family life growing up. It's incredibly touching, especially considering Tyrone's adoration of his mum despite everything they went through.

The lyrical side of this record is top-notch, and it is worth listening just for that. The instrumentals don't always hit the mark for me, and the ones that I do vibe with aren't exactly the most complex or intriguing. This makes the album feel slightly lopsided, but again, the lyrics carry it for the most part.

Top Tracks: Doorman, Gorgeous, Peace Of Mind, Missing, Northampton's Child

7/10

Loyle Carner - "Not Waving, But Drowning" (2019)

Not Waving, But Drowning is very much a continuation of Loyle Carner's first album, Yesterday's Gone. Here he is softly rapping over similarly low-key and jazzy instrumentals, about life and love and growing up (much like his debut).

On the lyrical front, love is a bigger topic for this record than the last, as Loyle seems to have entered a new relationship. The opening track, Dear Jean, details as much. It is essentially a poem to his mum about even he's moving out to live with his girlfriend, he is is still going to be around and be apart of her life. This leads into Angle, featuring a hook courtesy of Tom Misch. This track consists of Loyle professing his love, saying "You're my angel" over and over.

Ice Water and You Don't Know are some of the more driven tracks on the record, with stronger beats and a more angsty tone. Ice water covers Loyle's feelings as they first appear, like an energetic sugar rush. You Don't Know covers a contrasting topic, where Loyle and some interests' ideas of a relationship don't match up, where Loyle questions whether this person is really in love and knows what Loyle wants from it. It has a stomping, swaggering horn instrumental and a sassy hook from Kiko Bun. The reverby and vibrato effected instrumental of Sail Away Freestyle make it stand out among the rest of the tracks. This is also one of the more upfront tracks, with Loyle lamenting people who tell him how to 'wisely' use his earnings and people who have come to him now he's a successful rapper.

My biggest criticism with the record is that it sometimes dips a little too into sentimental nostalgia, a line which a feel the debut tread better. Some of the tracks just feel quite 'soppy'. Desoleil (Brilliant Corners) and Loose Ends featuring Sampha and Jorja Smith respectively are the worst offenders. Not that they're bad, by any means, they just feel slightly like a directionless ramble about emotions and people from Loyle's past. The fairly regular occurrence of studio bites or phone conversations as interludes also adds to this. Its not a big issue, but something that is noticeable coming from Yesterday's Gone to this.

Overall, Loyle's sophomore record is just more of what made the debut an enjoyable listen. So if you liked that, you'll like this. It is perfect for chilling too in the evening.

Top Tracks: Angel, Ice Water, You Don't Know, Sail Away Freestyle, Carluccio

7/10

Coldplay - "Everyday Life" (2019)

Coldplay have had a pretty underwhelming decade compared to the 2000s, all things considered. They kicked things off with 2011's Mylo Xyloto, a pop rock concept album that I will defend more than most, however it was probably their weakest release at that time. They then followed this up with the sombre break-up album, 2014's Ghost Stories, which won some people back with its moodiness more akin to the bands earlier albums. However, the weak writing and incredibly stiff, lifeless instrumentation and production make this by far my least favourite Coldplay release. Just a year later, they then moved onto A Head Full of Dreams, which stepped further into pop than Mylo Xyloto, and returned some of the colour which was so devoid in Ghost Stories. The last we heard from the band was the 2017 Kaleidoscope EP, a project that contained a mix of the typical safe, radio-friendly Coldplay tracks and a couple of weirder, less mainstream ones which hearkened back to some of their more ambitious work from the 2000s. So I had a feeling that whatever the band was going to do next, it wasn't going to be just 'A Head Full of Dreams 2'.

And that is exactly what happened. Everyday Life is a double album that takes influence from world music, showing the bands artier side that hasn't really seen much light since Viva La Vida in 2008. The two halves are titled Sunrise and Sunset and deal with far more global and political topics that Coldplay are generally know for.

Sunrise opens with its title track, a beautiful short string piece which sounds like it would accompany a sunrise quite perfectly. This leads into Church, a relaxed, sunny tune with Chris Martin's joyous vocals floating above a shuffling drum beat and chiming guitar. It's the first of many religious references within the album, and certainly the best of them. Trouble In Town takes a turn away from the serene atmosphere of the album so far, starting as a very moody, Latin inspired tune about police violence. The back half of the song explodes into this Radiohead-like frenzy while an audio clip of some police violently harassing someone is added to the mix. The other truly fantastic song on the Sunrise half (and my favourite from the entire album) is Arabesque, a song built around this French-pop groove as Martin sings about how we 'share the same blood', even singing in French for a verse. A stomping Nigerian brass band then enter the tune, giving it this massive sounding quality as it builds to the climax where Martin drops his first ever F-bomb in a Coldplay song.

The rest of the first half is fine, if completely unremarkable. BrokEn is a bog standard gospel song, WOTW/POTP (standing for Wonders Of The World/Power Of The People) is a cute but clearly unfinished acoustic song in desperate need for a memorable hook, and Daddy is as about as awkwardly soppy as Coldplay have ever been. Sunrise concludes with When I Need A Friend, a song done in the style of traditional church hymns, and for me this style just sucks the life out of the track, making it sound pretty uninteresting to me.

Sunset, unlike the first half, doesn't have a title track; instead opening with Guns, a sarcastic tune where Martin lists off plenty of the worlds injustices (including America's apparent love for solving their gun problem with more guns) while he strums his acoustic guitar so ferociously it starts to go out of tune by the short track's end. I love the intensity of this track, but I think it could've done with another pass as its chorus of Martin declaring everything is crazy and he might be crazy too creates a fair amount of tonal dissonance within the song. The album's big single, Orphans, also suffers from this. The track is literally about teenagers who have lost their homes and everything in the war in Syria, yet features a typical Coldplay party chorus about just wanting to get drunk with their friends (complete with millennial whoops and all). Cry Cry Cry is a cringy faux-retro doo-wop tune complete with fake vinyl crackles, and is half finished to say the least. Old Friends is much better, a sentimental, simple but effective acoustic tune that gives me Parachutes vibes.

The last two tracks are far more complete than much of whats on the Sunset half, and do seem to give the album some direction in its latter stages. Champion Of The World is a song dedicated to Frightened Rabbit singer, Scott Hutchinson, and I appreciate the intent of the song but it isn't Martin's strongest set of lyrics, so the track lands in this awkward sense of sentimentality but also being too generic to truly resonate. Everyday Life, the closer and overall title track, also falls into this trap, as the songs message basically amounts to 'why can't everyone just be nice to each other'. Not that is inherently a bad thing (much of the Beatles' music amounted to the same), but here Coldplay just don't quite land it.

Everyday Life is certainly the bands messiest album. It goes in loads of different musical directions, and attempts to address some massive themes and ideas with a tracklist that is full of half finished songs. However, the musical concepts the band has been going for in this one is much more to my tastes than the squeaky clean pop of 'A Head Full Of Dreams' and the stiff electronics of 'Ghost Stories', making it a much more enjoyable listen even if those albums were more polished and carefully constructed. I'm also glad that the band is prioritising their own artistic ambitions over commercial appeal, and despite Everyday Life's faults I'm exited for whatever they do next.

Top Tracks: Sunrise, Church, Trouble In Town, Arabesque, Guns, Old Friends

6/10

Elbow - "Giants of All Sizes" (2019)

Elbow consistently release albums every 3 years, so I wasn't expecting to hear anything from them so soon after 2017's excellent Little Fictions. The band have sped up pace with this one, rolling out the first single and opening track, Dexter & Sinister, in August, with the album dropping last month. I'm glad I've waited to talk about it, as it feels quite different from past releases. Elbow Albums generally feel like a warm hug (except their debut), whereas this one is much colder and world-weary. If Little Fictions is about finding peace of mind in friends and family despite all of the world's troubles, Giants of All Sizes gets caught up in the ongoing chaos of Brexit, the Grenfell tragedy, and the deaths of loved ones and strangers alike.

Musically, the album also leans into Elbow's proggier side far more often than any of their preceding records. Dexter & Sinister opens the record with weird electronic glitching before moving into a chunky guitar riff for a large part of the 6 minute tune. In the middle there's a piano solo and the song finishes with an extended coda that features a very OK Computer-esque descending guitar line with angelic vocals from Jessica Hoop. Empires is built around echoy and cavernous percussion, with no real break in Guy Garvey's vocals for any sort of musical breathing room. This creates a suffocating atmosphere to the track which reflects the lyrical content, detailing Garvey's grief after his father's passing.

The Delayed 3:15 is a track about a fellow who jumped on the tracks in-front of a train Guy was on. It's a hauntingly beautiful tune, where Garvey first details how run-down and neglected this area of train and asks why he chose there as opposed to a much more beautiful portion 'just a mile down the line', then going on to discuss the 'First-class tuts' who don't seem to care about this man, only that their journey is delayed. He finishes talking about how the man didn't make the news and how he couldn't find out who he was before a slightly discordant outro of woodwind and strings, as a sort of regretful send-off to this man.

Seven Veils is equally beautiful. It has a soft and pillowy atmosphere, and features some bittersweet imagery. The song appears to be about letting go of someone, and includes such phrases as 'I let you saw me in two / because that's what illusionists do', 'There's no roses in this garden / no sun melting in the sea' and the main hook of the chorus, 'Take your seven veils and sail the seven seas'.

Doldrums provides a delirious and kind of psychedelic melody, with faded and disembodied background vocals. This really fits a song, that from what I can tell, is about Theresa May's somewhat ridiculous term as Prime Minister. 'Staring down busses protected by God' is a lyric which really amuses me, it captures the feeling of her inevitable demise. White Noise White Heat also delves into the current UK situation, specifically Guy Garvey's loss of hope and belief in himself as an actual force of good, all framed around the Grenfell Tower fire. This is also the most direct song on the record, with crunchy guitars and an anthemic chorus.

The tail end of the record does bring back some optimism, with the last two tracks having a hopeful message. On Deronda Road is an ode to Garvey's new family home in South London. The track is probably one of Elbow's most daring, built around this glitchy Radiohead-esque beat, with rough choral vocals from the band plus The Plumadores. The Closer, the aptly titled Weightless, is a light, airy tune about Garvey's newborn son. The little guitar noodles and the chiming piano riff bring the album to the real sense of optimism that Elbow are known for.

I'm glad I've let this album sink in, because I really didn't know how to feel about it when it first released. I could see the band's usual high quality, but it wasn't making me feel the way an Elbow album usually does. Now I can say that while it's not my favourite from the band, it is a distinct and memorable addition to their discography.

Top Tracks: Dexter & Sinister, Seven Veils, Empires, The Delayed 3:15, White Noise White Heat, Doldrums

8/10

Foals - "Everything Not Saved Will Be Lost - Part 2" (2019)

I've been gone quite a while, blame going back to uni and a bunch of hassle around it for that. So it seems quite a good restart to posting on here to talk about the sequel to the first post I wrote, about the part 1 of Foals' Everything Not Saved Will Be Lost released earlier this year.

It was safe to say that I was pretty exited for this record, as part 1 has been one of my most enjoyed releases this year and also my personal favourite Foals album. However, as the singles rolled out I found myself a little apprehensive, and ultimately the full album has disappointed me somewhat overall. It's far from a bad album and not even Foals' worst in my opinion, but it is quite a step down from part 1.

Starting with the singles, Black Bull was the first to drop and I was initially underwhelmed. The track felt like a neutered, 3 minute version of What Went Down (the bands most ferocious, hard rock, riffs 'n' screaming track). The track has grown to be one of my favourites on the album, with Phillipakis' paranoid vocals set to these massive riffs. It doesn't hold a candle to What Went Down, and wouldn't make my list of best Foals tracks, but is an enjoyable track on its own. The second single, The Runner, hasn't grown on me in such a way. The track opens with a chunky riff, much like Holy Fire's Inhaler, but then shifts to sounding more like Mountain At My Gates as the chorus hits. The lyrical mantra of "If I fall down, I'll keep on running" feels pretty cliche and played out. It doesn't hit the anthemic optimism of Mountain At My Gates or the explosivity of Inhaler.

This is one of my problems with the record as a whole; it doesn't feel like a sequel to part 1, lyrically or sonically. Part 1 detailed a confusing and paranoid world, backed by equally panicky and frantic dance rock grooves more reminiscent of the bands early work than their big hits. This album just feels like more Foals rather than any continuation to really deem this a part 2 of a united whole. The lyrics don't provide anything to counter or compliment part 1, it's just generic "I won't give up" feel-good-ism that the band have done for years. The music is also more straight-forward indie and alternative rock than the propulsive rhythms of part 1.

The production is also a bit wobbly. Foals have always had an issue with an over-reliance on reverb, but on top of it here the tracks just seem completely blown out and impact-less. The band promised part 2 to be heavier, and I don't really think that's the case; it's just louder. To be honest, I actually think part 1 is the more explosive and impactful. The most low-key song on the record, Into The Surf, is built around the creepy keys and effects of part 1's Surf pt 1 interlude, but the track is washed out with reverb to an absurd degree. It completely takes the personality out of a track I would otherwise really like.

Not that there aren't highlights on the album, Wash Off would fit snugly on part 1 with its dance-able groove and chanted backing vocals.The chorus does kind of fall victim to the albums production, but the verses of Dreaming Of are propulsive and driven with Phillipakis' vocals mimicking the chunky and choppy groove. 10,000 Feet has this almost Coldplay-esque keyboard line matched against a loud and heavy bass line that does give the track a real sense of drama as it shifts between the quieter verses and the massive chorus. The ten minute closer, Neptune, recalls a post-rock sound the band haven't really explored since Total Life Forever and has a real weight and swell to it that much of album lacks. 

I think there enough tracks on here I enjoy (and enough that I would enjoy a whole lot more if the production wasn't as blown out) for it to be more than just mediocre, but it is a real step down compared to part 1 and leaves me feeling as if it might've been better for the band to condense down he best tracks from both albums and release a longer single 'Everything Not Saved Will Be Lost' album.

Top Tracks: Wash Off, Black Bull, Neptune

6/10

Circa Waves - "What's That Left Over There?" (2019)

Following the band's rather underwhelming third album earlier this year, they have dropped this EP consisting of two tracks which didn't make the record and alternate versions of two tracks which did, The Way We Say Goodbye and Times Won't Change Me.

These new versions are stripped back tracks, with The Way We Say Goodbye being piano-led and Times Won't Change Me being played on an acoustic guitar. Without all the extra instrumentation and production, The Way We Say Goodbye comes across even more bland and formulaic. The swap from piano to acoustic guitar on Times Won't Change Me does make the track feel a little more rough and raw, however the track still retains its complete lack of any lyrical substance, which is what turned me off it originally.

The two new tracks however, are pretty good. Something More is this new wave style song with emotion but understated vocals. The drum machine and early-80s sounding synths give it a real throwback vibe. Hunters is a folky acoustic tune, which also sounds very restrained. These songs don't feel forced, or lacking in any lyrical substance, like much of the album. I'm surprised that they didn't make the album to be honest, since it was so short anyway.

This EP has restored a bit of my faith in the band, showing that they can still write a decent tune. Hopefully album 4 matches their usual quality.

Top Tracks: Something More, Hunters

6/10

Little Simz - "GREY Area" (2019)

I was first made aware of Little Simz through her performance on the Gorillaz track Garage Palace a few years ago. The energy and charisma she brought to the track made it one of the better Gorillaz tracks from the Humanz era (I'm suprised it didn't make that record if I'm being honest). So when basically every outlet under the sun praised her new album to no end (It's now bagged a Mercury Music Prize nomination) I'd thought I'd check it out. I'm so glad I did, because this record is definitely one of my favourites from this year.

Simz has an intense and exciting flow, rapping over equally powerful and snappy instrumentation. She wears her heart on her sleeve, baring many sides of her for us to see. She starts the record in a sassy, righteous state on the first two tracks, Offence and Boss. Offence is driven by this groovy bass line as Simz convincingly bigs herself up and sells that she is such a great rapper. The track provides some great quotables, "I'm Jay-Z on a bad day, Shakespeare on my worst days" and "I settle with my chest and I don't care who I offend, uh-huh!". The lavish woodwind and strings which garnish the track give it this intense sense of drama. It just sounds so cool. Boss is just as empowered and intense, but rather than selling herself to the listener, Simz is taking fire at a previous partner, and absolutely destroys it on the mic. Her performance is filled with power and anger, as she demonstrates what this person has lost by messing her around so much.

This failed relationship takes a large bulk of the lyrical content here, as Simz approaches it from different angles.On the following track, Selfish, she takes a more self-questioning stance, with some restrained and reflective vocals from Cleo Sol on the hook. The track is smooth and gentle, as opposed to the brashness of the opening two songs. The Little Dragon assisted track, Pressure, details how Simz is experiencing so much pressure in her life through other factors, and now the person she relied on to release that pressure has now become one of those contributing factors. These different approaches to this traumatic break up create this raw and real sense of confusion and hurt throughout the album. This all comes to a head in the back to back tracks of Therapy and Sherbet Sunset. Therapy details Simz's experiences with therapy and how it hasn't helped her. It's raw and poignant, as she goes on about how she's not a charity case and 'doesn't need saving'. Sherbet Sunset goes the deepest into the relationship and is blatant and honest about Simz's confusion and hurt. The placement of these two tracks gives the idea that her work is her therapy. While traditional therapy doesn't seem to work for her, she can pour her heart out into these songs and get some perspective and catharsis out of it. 

Not everything on the record revolves around this, though. 101 FM is an ode to her childhood with references to playing Playstation games and pirate radio in London's tower blocks. The track has this East-Asian styled beat and is just a lot of fun. Wounds is this reggae infused track about gun violence. Venom is exactly what the title suggests, venomous. Simz speedily and harshly raps about how she is just as dangerous as any guy and that the fact she's a women isn't a detriment, and in fact it's an asset. The closer, Flowers, is very reminiscent of To Pimp A Butterfly. It slowly winds the album down and ties the ideas together, as Simz talks about the 27 Club. It's lush and warm, and seems like a final moment of clarity as the album closes.

While writing this I realised that it isn't just one of my favourite albums of the year so far, it is my favourite. Simz has crafted this incredibly tight, cohesive album, where every track tackles something different (or something from a different angle) but it all comes together to form this fantastic whole. The instrumentation is lively and exciting, and is so lushly produced. All of the features absolutely knock it out the park, and are perfect for the tracks they appear on. A simply excellent album.

Top Tracks: Offence, Boss, Selfish, 101 FM, Pressure, Therapy, Sherbet Sunset, Flowers

9/10

Hozier - "Wasteland, Baby!" (2019)

I was initially incredibly disappointed by this record. Hozier's 2014 self titled debut was this intensely soulful release, packed full of blissful highs and deep, dark lows with a very twisted and sinister imagery regarding lust, religion and death. Last year he also dropped a great teaser EP for this release titled Nina Cried Power, so I was expecting good things from this. Although I feel the record is better than my initial reaction to it, it is not without its flaws which do bog down the enjoyment for me.

The album opens with the title track of last years EP, a stomping protest song featuring excellent vocals from the incredibly talented Mavis Staples. While I did really enjoy the song when I first heard it, over the subsequent listens of the EP and album I feel like I have got all I can out of the song and there's nothing new it can give me. I think this is probably due to the vagueness of the lyrics making it feel like it isn't really saying anything I can get behind, besides the general 'let's inspire people!'. The next track, Almost (Sweet Music), is where the problems start to show. The tune is this light, upbeat, poppy one; which in itself is fine. However the bass and drums are so overdone in the mix that it sounds somewhere in-between some kind of Ibiza club tune and one of those annoyingly ear-wormy Shaun Mendez singles.

This kind of awkward commercialisation of Hozier's style is rampant in the first half of the record. Movement is this album's attempt at the dark, brooding, building single (a la Take Me To Church). However this song feels so pristine and manufactured, without any of the sinister imagery which made those moments work on the first album. It sounds like someone trying to imitate Hozier's style without any of the nuance. The only truly great moment on the first half is No Plan, a slick song with a groovy bass about just living life and not worrying about a plan. Hozier's vocals soar above this effortlessly cool tune. All the edgeless commercialisation comes to a head in To Noise Making (Sing), a track about as cringily twee as a Train song.

Luckily after this point the album really regains some footing, and while not every song is a complete smash, there is a consistent level of quality the record maintains. Every song is at least decent. Highlights include the back to back folk due of As It Was and Shrike, and Dinner & Diatribes. As It Was is moody and dark, whereas Shrike (also featured on the Nina Cried Power EP) is much more relaxed. Both tracks are simple and restrained, allowing Hozier's soulful lyrics to shine. Dinner & Diatribes, on the other hand, is loud and frantic. The rising and falling guitar line and pounding drums give this tribal vibe to the track. I love the little synth melody which follows the last line of the chorus in this call and response style. It really adds to the intense atmosphere of the track. The album closes out with the title track, a quiet tune about two people falling in love in the midst of the apocalypse. Hozier's voice is buried in vibrato, making him a feel a subtler part of the track than usual. It's a hopeful note to end the record on.

Wasteland, Baby! is a strange album. It is so front-loaded with overproduced, commercial songs; and yet the the back half is consistently good. You can honestly feel the shift at the half way mark. Removing the radio-tailored nothing tracks would have made it a more enjoyable (and less bloated) listen.

Top Tracks: No Plan, As It Was, Shrike, Dinner & Diatribes, Wasteland, Baby!

6/10

Slaves - "The Velvet Ditch" (2019)

While working on the bands last album, last years Acts Of Fear And love, Slaves wanted to keep that record as lean and tight as possible. All killer and no filler as they say. That resulted in the duo having a few ideas and tracks left over after the release, things which wouldn't necessarily have worked on the record or unfinished ideas that didn't have time to blossom, hence this EP. Unfortunately, these odds and ends feel just like that - unfinished.

The opener is the most fully formed of the bunch. It's a track about being trapped in your home town and the rather unpleasant people you inevitably meet there, titled One More Day Won't Hurt. Supposedly inspired by the group's attempt at making a grime beat, the song sounds like typical Slaves. Isaac Holman's angry, shouted vocals sit on top of his thunderous drumming and Laurie Vincent's grimy, heavy guitar riffs. While the track is as loud as any punk song, it crescendos massively towards the end.

The other tracks don't really come close to matching this. The following song is a short thrashing punk jam called It Makes Me Sick, but doesn't really match the humour of the likes of Fuck The Hi-Hat (a similarly loud and short tune). The title track is easily the most forgettable, slowing the pace down with a twangy country-style acoustic guitar, and that's it. The melody is simple and forgettable, the lyrics are simple. There's just not much there to latch on to. The closing track is also slower, being a heartfelt piano balled with some engaging lyrics. However, there's nothing else introduced into the song and it doesn't really go anywhere. It really feels like it could've been expanded upon into a really great song.

It's a shame this EP feels unfinished, because the basis is here for some good songs, especially with the band branching out into new territory with the last two tracks. As it stands, it is fine. While perfectly listenable, it just feels rather unimportant.

Top Tracks: One More Day Wont Hurt

5/10

Thom Yorke - "ANIMA" (2019)

Despite being a big Radiohead fan, I've never gotten around to checking out any of Thom Yorke's solo material until now. This record dropped a couple of weeks ago alongside an arty Netflix short film featuring 3 of the songs and some more of Thom's meme worthy dancing. ANIMA explores Yorke's more electronic leaning tendencies that are apparent in Radiohead's more experimental albums. ANIMA, however, feels a whole lot more consistent than the likes of Amnesiac or The King Of Limbs. Perhaps it is because Thom is only focused on electronic sounds and textures, making the album feel less like a balancing act, and more of a full exploration of the genre.

Another distinction I feel between this and a lot of Radiohead's electronic work is the emphasis on more ambience and texture, as opposed to the hypnotic rhythms they tend to build their tracks around. Loops and rhythm are still an integral part to the album, but it feels as if they're not the focus this time. For example, the opener, Traffic, is built up from layers of looping synthetic beats, but swells of synthesisers rise and fall and different elements are introduced throughout the track. Thom's vocals are soaked in reverb, creating a strange yet human atmosphere as they contrast to the music they're paired with. Twist starts off with a looped sample of Thom just saying "twist" which slowly fades out of the mix as ethereal vocals glide over the top. A sample of kids cheering is also introduced which gives the track a slight sense of fun. However the track feels like it should've ended after its first phase, as it really feels dragged out over its 7 minute runtime. Not The News has tense beebs and boops driving the track forward with some momentum as Thom's voice sounds paranoid and confused, which echo effects applied at just the right moment to add to the tension. Strings come in slowly as the song moves forward, turning it from something tense and synthetic, to something lush and rich. This paranoia carries on through the seamless transition into The Axe, where Yorke wails 'I Thought We Had A Deal' over these chiming guitar notes buried in effects lower in the mix.

Dawn Chorus is built from some incredibly sad, slightly dissonant chords and not much else. Yorke's deadpan, emotionless depiction of modern day to day actions with lines such as "You've quit your job again" and "I don't like leaving, doors shut". This completely devastated track evokes similar feelings to the likes of Motion Picture Soundtrack and True Love Waits, as if there is nothing left for him in this life. I Am a Very Rude Person fits in rather well afterwards, with it's spacious beats and cool bass guitar refreshing the album after the defeated atmosphere of the last track. Impossible Knots is also built around a chunky looped bass riff and some sped up drum patterns, courtesy of Radiohead's drummer Philip Selway. Honestly at this point it doesn't sound to far of the basis of a typical Foals track. Synths layer on top of this, along with more of Thom's ethereal vocals.

Last I Heard (... He Was Circling The Drain) is my least favourite of the bunch, reminding me of Radiohead's more underwhelming electronic tracks, such The Gloaming. The siri-esque computerised vocals on the closer, Runwayaway, also don't really appeal to me; and the track as a whole doesn't feel like it progresses to anywhere particularly interesting.

This album has certainly become one of my favourite releases this year, with these engaging ambient tracks which have so much detail and texture to them. The beats and grooves drive the tracks without them feeling as if the rhythm is the sole focus of them. It's a really great album and a good way to follow on from the likes of Kid A and Amnesiac through to full-on electronica.

Top Tracks: Traffic, Dawn Chorus, I Am A Very Rude Person, Not The News, The Axe, Impossible Knots

8/10

Catfish and the Bottlemen - "The Balance" (2019)

This record came out 2 months ago now and I keep putting off talking about it because it is simply so bland and predictable. As with so many bands over the past 15 years, Catfish put out an incredibly exciting and enjoyable debut in 2014's The Balcony, and then followed it up with a mostly mediocre The Ride in 2016, an album that had some stellar singles but most of the deep cuts sounded like bland Oasis demos which never left the studio for a reason. While there was always hope that the band could turn it around for their third release, I wasn't surprised it turned out like it did.

And there was hope for a while, the first two singles (also the first two tracks on the record) were legitimately enjoyable indie pop rock tunes. While nothing revolutionary, Longshot aims for an anthemic feel-good vibe and actually gets there, and also ditches the oasis cover band style of the last album. Fluctuate is easily the best the record has to offer, retaining much of the energy and angst that made the first album work so well. The way the guitar and bass play off each other during the verses is some legitimately creative songwriting. But then we get to third track and single, 2all. This is when I knew how this album was going to turn out. The instrumentation is bland and uninspired, and the lyrical content is just complete anthemic nothingness. Another (admittedly petty) gripe I have with this track is that title. It seems as if the band are more committed to their aesthetic of single word titles than actually making one that doesn't look incredibly dumb on its own.

The whole album feels like this to be honest, engineered to maintain the bands aesthetic and appeal to the fans. The same cover art style, the same "The ..." title, the same one word song titles, the same awkward cut-off at the end of the last song just because it happened by accident when they recorded Tyrants for the first album. It's even more awkward here than on The Ride, because the last song, Overlap, doesn't even sound like a big finale song. It just sounds like every over song on the album, just with the end missing...

All the songs follow the same structure, opening with the first verse at a certain tempo, with a big buildup into the chorus which is either faster or slower than the verse. Then repeat for the second verse and chorus, and then finally jump into a guitar solo or a bridge and then the big anthemic final chorus. The lyrical topics are also generally the same throughout the album (as they were the last time), generic relationship struggles that are just detailed enough to remain relatable, but not intense or introspective enough to feel like there's really any stakes.

I know I've really grilled this album, but it is well performed and well made, and does an energy to it that you can bop your head to in the backround. Individual guitar lines and some of Van McCann's vocals do grab me, but they're put into songs that overall sound all the same as each other, and all the same as what the band has done before. If you're a fan of what the band has done before and is not looking for any changes, then you'll probably really enjoy this record. However, for me, I would just rather listen to their first record, or something from the myriad of bands that have sounded like this over the past 15 years.

Top Tracks: Longshot, Fluctuate

4/10

Biffy Clyro - "Balance, Not Symmetry" (2019)

While touring their 7th album, Ellipsis, Biffy Clyro mentioned they were working on a soundtrack album. And then we heard nothing until the day before it dropped with the release of the title track and the announcement it was coming the following day. This 17 track album is the soundtrack to a film of the same name, apparently an imagining of Romeo and Juliet but from Juliet's perspective. The band have definitely used this slight change in format to explore some of their weirder tendencies which have been largely smoothed off in recent years as the band have become more popular.

The album opens with the title track, where Simon Neil screams the opening line then settles into an off-kilter rhythm against this angular drum pattern. It has a typical anthemic Biffy chorus then dives right back into the weirdness for the second verse. The second and third track are softer emotional tracks that you would find in any film score and don't do much for me, but following that is Sunrise. This track opens with about 30 seconds of intense thrashing on not just the bands typical instruments but also there's some piano in there as well. All this noise forms into this monstrous Rage Against The Machine style riff. The stomping verses of this track build into another anthemic chorus, with the captivating lyrics of "I didn't wanna break but I broke" and "I didn't try and speak but I Spoke". After this comes Pink, the first of three short, wholly instrumental mood pieces. The first five tracks are a microcosm of the variety on this album, with the band exploring entirely new sounds and ideas.

Gates Of Heaven has a chiming piano as the lead instrument and a guitar as only an accompanying instrument. The track shows a level of restraint from the band, it doesn't go overboard. Fever Dream is a reverb heavy electronic track which has vast soups of atmosphere. Skittering synths lace Neil's voice, singing "Where the fuck is God?". The reverb and echo effects slowly builds at the back end of the track, turning the fever dream into what sounds like some kind of nightmare. As a pinnacle of the throw everything at the wall and see what sticks weirdness, Tunnels And Trees samples a floor board creaking as a part of the percussion. The band really are just doing whatever they feel like on this record.

This vast variety of sounds and the fact that it is a soundtrack album (which doesn't lend itself to a traditional studio album structure), does mean it doesn't flow as well as other Biffy records. There are a handful of tracks I don't care for and while the instrumental tracks are likely necessary as an accompaniment to the movie, they do kind of pad out the album a bit. Overall, there are some absolute bangers on here, but its lengthy 17 track long runtime makes them easy to miss.

Top Tracks: Balance, Not Symmetry, Sunrise, Gates Of Heaven, Fever Dream, Plead, Touch, Jasabiab, Following Master

7/10

Sundara Karma - "Ulfias' Alphabet" (2019)

Sundara Karma gained a lot of attention with their 2017 debut "Youth Is Only Fun In Retrospect" and it's anthemic, coming of age, indie rock singles. However their was an arty, more ambitious element to that album which resulted in the band sounding split between two identities, unsure of which road to take. I was initially disappointed when the band started rolling out singles for the follow up, seemingly ditching the sound that made the likes of Flame and Explore such enjoyable songs, rather delving deeper into their art rock tendencies. This worry was quickly dismissed when the album released, as it just works, and I am enjoying it more with each listen.

Gone are the indie dance floor tracks about going out and young romance, replaced with songs about colourful characters and bizarre places. There is a very David Bowie feel to this album, not just in Oscar Pollock's distinct voice but also the lyrics and themes. The single One Last Night On This Earth is about an alien crash landing on Earth and discovering love. You can't get more Bowie than that. The album darts from one place to another, making huge stylistic shifts between songs. This, for me, means not every song connects, but the constantly changing sound keeps me engaged. Some highlights include the sizzling electronic rock of Higher Stakes, a track which sound like it would fit perfectly in the soundtrack to some futuristic racing game like F-Zero. Little Smart Houses bounces along as Oscar sings about being 'warm and dumb' in our 'little smart houses'. The vocals on the title track are processed with some vibrato and reverb to sound echoey an distant, coupled with the lush piano make it sound like the track is taking place in a thunderstorm. The best moment is Rainbow Body, a tense and atmospheric post-punk tune which bursts into colour towards the end.

While the album lacks the feel-good singles which drew them so much attention, I do feel it is a better album overall than the debut. It's less bloated and more ambitious, and the band sound committed to the direction they've taken.

Top Tracks: Higher Stakes, Illusions, Little Smart Houses, Rainbow Body, Ulfias' Alphabet

7/10

Circa Waves - "What's It Like Over There?" (2019)

Circa Waves' 2017 sophomore album, Different Creatures, was a great development from their debut. It added darker and heavier elements to their youthful indie rock sound, creating a more sonically diverse album that still retained its blistering energy. So when frontman Keiran Shudall started talking about how the next album would be even more visceral and cinematic, I was exited. Unfortunately, it's not very cinematic, just underwritten, overproduced and sonically all over the place.

The album is short, 30 minutes long, with only 10 tracks. One of which, the title track, is only a intro track to the album. This track is literally the sound of some gulls and a van door closing, which I find frankly bizarre as it doesn't feel like it connects to the actual first track at all. So there's actually 9 proper tracks, in a 30 minute timespan which cover completely different styles. There's no flow or running thread throughout the album, just a bunch of vastly disparate songs.

And the songs, they aren't great. The actual first track, Sorry I'm Yours, sets the album off on a bad foot with typical Imagine Dragons style overblown bass and percussion during the chorus. It is such a turn off for me. Then follows Times Wont Change Me, a stomping piano rock tune that does initially have some bite. That is until about 50 seconds in when Keiran has sung the line 'these times wont change me now' about 4 times already and you realise hes going to sing it about 400 more times before the song finishes. That's a big problem that runs through much of the album, most of the songs feel really underwritten. The verses don't seem to have much detail or depth, and the choruses are just the song titles repeated 4 times over. Me Myself And Hollywood has this problem as well. The track has these really chilled verses with this lackadaisical Arctic Monkeys Humbug style guitar. But the title is legitimately the title repeated 4 times. What does 'me myself and Hollywood' even mean? Be Somebody Good is perhaps strangest mess on the whole album. It opens with a really nice angst ridden opening verse that's set to programmed drums and it builds in intensity until the chorus hits, which consists of Keiran singing 'I wanna be somebody good' over and over against the returning overblown pop-rock drums and bass. There is a really nice sounding guitar solo at the end of the track, but it really comes out of nowhere and is over in 6 seconds, so feels really out of place. The Way We Say Goodbye and Motorcade are more consistent sounding songs, but are rather underwhelming attempts at their respective genres (the former being mid-2000s soft rock akin to Coldplay and Snow Patrol, and the latter being a more electronic rock leaning sound). The best the album has to offer is lead single Movies and the closer Saviour. Movies is a pretty standard Circa Waves song, with their trademark youthful energy. Savour is the bands attempt at blues rock and definitely feels like the loosest song on the album, and also seems the most poignant, with lyrics about class divisions.

It's strange after the political songwriting on Different Creatures that this album is so devoid of it. Apparently Keiran was fighting writers block when creating this album, and you can definitely tell with all the repeated phrases and the fact these songs don't really appear to be about much beyond their vague pontificating. The frustrating thing is that there is something I like about every song on this record; I like Keiran's performance of chorus on Sorry I'm Yours, I like the backing vocals and production on Passport, I like the general aesthetic of Me Myself and Hollywood. But they're all assembled into these hodgepodge, clunky songs. If they were struggling to write something meaningful, maybe the band should've taken a break for a bit instead of heading right into the studio.

Top Track: Movies, Saviour

4/10

Billie Eilish - "WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?" (2019)

Billie Eilish has been rather hyped up over the past few months, and its clear to see why. It's obvious to hear the influence of critics pop darling, Lorde. Her minimalist, alternative pop style is mixed with elements of trap production and on the other end of the spectrum, elements of folk. In addition to this, her dynamic voice which can be smooth and gentle on some tracks, and on others can be a semi-rapped staccato flow which changes pace and rhythm abruptly. For a 17 year old to have such a well formed and unique aesthetic is impressive.

However, behind the aesthetic I feel like there isn't all that much substance, which I'm chocking up to her young age. The album opens with this really awkward intro track then jumps into bad guy, a track where Billie talks about all these typical hyper-masculine men she knows and how she is the real 'bad guy' and they all collapse in comparison to her. I just don't buy it, it feels fake and forced. you should see me in a crown follows a similar path and feels like Taylor Swift's Look What You Made Me Do, all self-aggrandising and complete with incredibly predictable base drops as the chorus hits. wish you were gay would be a song I could get behind. It's kind of tounge-in-cheek and doesn't take its self too seriously, however its hook 'wish you were gay' is just beyond cringy. when the party's over is one of the folkier tunes on the album and it's perfectly serviceable, however with it covering very much the same topic as Lorde's Sober II (Melodrama), I can't help but compare it to that much better song.

There are some bright spots; xanny plays into her age with the lyrics about second hand smoke and only ordering a diet coke, and feels one of the most genuine moments. all the good girls go to hell and bury a friend are intriguing with their themes of death, mortality and the afterlife. ilomilo feels the least straightforward in the track-list, seemingly dealing with worries and regrets.

The other tracks on the album are mostly uninteresting, dealing with similar topics to the ones I have mentioned. Billie gets so much right with the performance and production, that it feels such a shame that the lyrics and themes seem so shallow and forced. I'm looking forward to whatever she does in the future as she is bound to grow and develop as a writer, however there isn't a lot to get me to come back to this release.

Top Tracks: xanny, all the good girls go to hell, bury a friend, ilomilo

5/10

Foals - "Everything Not Saved Will Be Lost - Part 1" (2019)

While I plan to cover all the albums I have anticipated this year so far, I feel it's best to start on a high point with whats easily the best of the bunch. The fifth album by English indie-rockers Foals, first of the two part Everything Not Saved Will Be Lost (with part 2 releasing later in 2019), is also in my opinion the best in their discography so far. Foals are a band with some excellent ideas and a knack for writing incredibly catchy indie and dance-rock anthems, however I feel they've only recently started crafting them into albums which match the quality of their best standalone tracks. The buzzing, frenetic math-rock of their debut is highly entertaining for about half the run-time, but as the album progresses, the music starts to become droning and Yannis Philippakis' cryptic lyrics start to blur together. Total Life Forever and Holy fire softened up the sound with more synths and reverb, and Philippakis' lyrics gradually became less bizarre, but both those albums feel like they run too long with a handful of filler tracks in each (well more than a handful in Holy Fire's case). It was only by the time of 2015's What Went Down that the band made an album which was front to back with solid tunes that didn't outstay their welcome. However the album lacked any great progression for the band. It was effectively Holy Fire but with better tracks.

Which brings us to Everything Not Saved Will Be Lost, which sees the band exploring old and new sounds and themes. Lead single Exits characterises this well with chunky sounding percussion and piano reminiscent of earlier Foals tracks such as Miami, along with choppy, confused lyrics detailing climate change, extreme weather events and the world being upside-down creating a paranoid and apocalyptic atmosphere. This is only added to by the skittering synths and backing vocals which creep in across its six minute run-time as it slowly builds into a hypnotic groove. Much of the rest of the album follows suit, dealing with the maddening world we currently live in. It discusses Brexit, Trump, the lack of opportunities for younger generations and the general feeling of despair.

The following track, White Onions, shakes things up, having this primal, panicky atmosphere with its repeating drum pattern and synth riff, along with a fuzzy bass and simple, chant-like lyrics. This is followed up by a synth laden dance-rock number, In Degrees. Each track on the album features a unique musical core which differentiates it from the rest, leading to it feeling like the tightest and most concise record that the band has put out, especially with its much shorter run-time than a typical Foals project. Cafe D'Athens repeating percussion loops and wispy vocals evoke The King Of Limbs era Radiohead, and On The Luna is the closest the album gets to a big pop single like My Number. However it is not as straightforward as that comparison suggests. The off kilter synths and dense layers turn it into a captivating earworm. Syrups starts as a very tense, restricted tune with its plodding bass riff, but explodes into a frenetic rage as the tension is released. The last two tracks, Sunday and I'm Done With The World (& It's Done With Me), are perfectly contrasted. Sunday is hopeful and optimistic whereas the closing track leaves the album in a defeated, deflated state. The imagery of autumn leaves burning is intense but also isolating. The only track which I'm not really gelling with is the opener, Moonlight. It just doesn't seem to do much or go anywhere or say anything, it only seems to function as a prelude to Exits.

All in all this album is pretty great, the tracks mesh to form a cohesive statement yet also stand on their own and have their own distinct identities. Despite the obvious commercial reasons for releasing this double album in two parts, I also feel it's the best creative choice, allowing us to fully appreciate its arc. Hopefully Part 2 will be just as refreshing and creative.

Top Tracks: Exits, White Onions, Syrups, On The Luna, Cafe D'Athens, Sunday, I'm Done With The World (& It's Done With Me)

8/10